The Official Magnepan Owners Thread - Page 160 - AVS Forum | Home Theater Discussions And Reviews

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post #4771 of 4799 Old 10-25-2016, 08:02 AM
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Originally Posted by ghstudio View Post
Thanks for the influx of thoughts.

grigorianvlad: you suggest using all magnepan's, but you apparently use a Polk center....would you explain.
Fair question. I started with an all-Polk setup (except for the subs). But then upgraded L/R to Maggies. Then added a pair of Eminent Technology LFT-8b's to L/R. The Eminents combine best of both worlds - planar and cone, so they are good for HT. But lack with music. So, the Maggies and Eminents both run in parallel, using different power amps. The processor feeds the same L/R signal , one through RCA the other thru XLR. This way both music and HT sound great.

DAC: Wyred4Sound DAC1LE || Processor: Marantz AV8801 11.2 Ch || Power Amps: Audio Research VS110 (100W tube) || Emotiva XPR-2 (600W), Emotiva XPA-5 Gen 2 & UPA-500 (200W/80W) || L/R Speakers: Eminent LFT-8b , Magnepan 2.7, Center : Polk LSiM-704C, Sur: Polk LSiM-703 || Sub 1: Rythmik F25 (800W). Sub 2: Sunfire True Signature TS-EQ12 (2,700W) || Cables: MIT terminator 2 Biwire, 4, Exp; Cardas Crosslink || Power: Panamax M5300 || HP: HifiMan HE560
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post #4772 of 4799 Old 10-25-2016, 05:10 PM
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The center channel discussion is always interesting. I don't have a golden ear, so I only rely on the center channel to "center" voices when I'm watching a movie. I've never noticed a really bad effect even when the center channel speaker is el cheapo.


So I finally finished my set up:


MGMC1 front
MMGW rear
SVS SB-1000 sub
NAD T748 Receiver
Emotiva BASX A300 to drive just the front speakers (the rears are driven by the T748)
A pretty standard Samsung TV.


I use the TVs speaker as the center channel, and it sounds just fine to me for movies. I wouldn't listen to music on that speaker, but making it just loud enough to help center voices it's fine, and it came with the TV.


In the old house I did the same thing, using the old CRT TVs terrible speaker as a center channel, and it seemed fine.
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post #4773 of 4799 Old 10-26-2016, 12:34 PM
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So I went to Audio Ark in Edmonton and gave a Maggie 5.1 system a listen ( MC2 (motorized MC1) mains, CC5, MC1s back/side) 10" sub (didn't catch the brand) run at 100W/ch. Wow! The room was comparable to what I'd be listening in size-wise but the placement on the side walls would be a nogo for me. This is the way I'm going to go when I build the HT. Unfortunately, placement in my living room would be a nightmare with the open floor plan so in the end I decided the Maggies have to wait until I go separate pre/pro and basement room. What I did do is pull the trigger on a set of Bryston MiniT On-Walls to replace my Paradigm Atoms as mains. They should be here in the hinterlands next week sometime.

I want to say thank you to you all for your advice and assistance!
I listened to Maggie's but also ended up getting Bryston Mini T's. Amazing speakers for the money. Clarity and tonality is some of the best I've heard regardless of price.
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post #4774 of 4799 Old 10-27-2016, 11:30 AM
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First report....no special adjustment other than using my ear to balance volume between left/right/center.....the Martin Logan C2 blends exceptionally well with the MMG's. I'll do an Audyssey tuning in the next couple of days getting the frequency adjustments and volume settings adjusted and report back. There is a significant improvement of the C2 vs the NHT AC-2. I may need to add my 200w/channel NHT Power5 amplifier back...these speakers really are as inefficient as folks claim.

I had some time to tune the system....and it's remarkably good at TV volumes. I haven't listened to other Martin Logan speakers, but I purchased the C2 on EBAY for less than $300 and it was a great buy and price balanced to the MMG's as well. I'm very pleased with this sound system..... I'm still going to look for a C3....but I won't be too upset if I don't find one.

I am just shocked at how good the sound is from this under $1500 set of speakers (based on what I paid for them).

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post #4775 of 4799 Old 10-30-2016, 04:14 PM
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Originally Posted by Tom in ADK View Post
A pretty standard Samsung TV... I use the TVs speaker as the center channel, and it sounds just fine to me for movies.


I will add that on some older movies from Netflix, Amazon, etc., there is an audio mismatch delay. I'm interested in other people's experiences with and solutions to this. The way I am set up for movies is that the signal comes into the smart TV (either a streamed signal, or via HDMI from my Blu Ray player), and then audio goes from the TV to the Receiver via the TVs optical audio output. With newer movies this all works fine. But with older movies, there is a lag. I have studied up on this; apparently, what happens is that the TV processes the signal, and it sends the audio for the TV speaker to the TV speaker right away. But it delays the audio that's going to the optical output until it finishes processing the video (so 100ms, maybe). So the optical output that feeds the main and surround speakers is about 100ms behind the TV's own speaker. There does not appear to be any way to get rid of this delay. The only solutions I have seen are: 1. Turn off the TV's speaker; or 2. If your TV is capable, add an audio delay to the TV's speaker so it's not so far ahead of the rest of the audio. Again, this is no problem with newer movies; I think it's only a problem with the older analog movies that the TV has to spend a lot of time processing before it displays the video.


(I know this is a little out of place in this forum, also, but this is where I am right now...)


Anyone have any experience / suggestions / ideas on this?
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post #4776 of 4799 Old 10-31-2016, 07:10 AM
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Originally Posted by Tom in ADK View Post
(I know this is a little out of place in this forum, also, but this is where I am right now...)

Anyone have any experience / suggestions / ideas on this?
I don't know what processor you are using to drive the surrounds, your specific TV or the input source but assuming you have hdmi capability, I'd suggest routing your signal input through your processor first and then passing through the hdmi signal to the TV. That way the processor will strip the signal for left/right first...and then you can use the delay capability built in to most processors and you can delay the left/right long enough so that it matches the center and lip motion on the screen. If your processor doesn't have hdmi passthru, there are many inexpensive hdmi splitters.

The easiest and best solution is to buy almost any center speaker which will be better than the junk that's in your TV...and let your processor handle all the audio.

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post #4777 of 4799 Old 10-31-2016, 04:22 PM
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Thanks, gh. I have an NAD T748 AV Receiver. It's not "smart" in that it cannot receive wireless input by itself. So for movies that come by wireless input (Netflix, etc.), the only unit I have right now that can pick them up is the smart TV. I did not want to spend any $$ on a separate box to pick up the wireless signal and feed it to the receiver. Maybe I will have to buy a box of some kind? I have not researched those. And I am 70/30 music / movies, so I spent more time and money on the audio system (which is great!) and not as much on TV signal sources.


So if I were to buy some kind of box that would pick up my home wireless signal and send it to the receiver, what units would you recommend?


Thanks!
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post #4778 of 4799 Old 11-01-2016, 05:33 AM
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If your problem is with netflix and not cable tv, then do a google search on "netflix lip sync".....and then move this discussion somewhere else...not on the magnepan owner's thread. Your issue is not unusual.
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post #4779 of 4799 Old 11-01-2016, 06:03 PM
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Thanks, GH. Posted the question over here:

Signal Routing, Best "Box" Options?
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post #4780 of 4799 Old 11-04-2016, 02:44 PM
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Free pair of Maggies 1.6QR with one channel partially blown (twangs only at high levels) if you purchases product from my brother's Oreck Center located at 1609 NW Federal Hwy, Stuart, FL. Minimum Purchase must be $350.00.


Speakers are in their original shipping cartons. No tears in the sock. For pick up only.


Just bought the 3.7i's and do not want the hassle of selling, shipping, etc.


I can't sell them with a clear conscious knowing the right channel twangs a little.


Great deal. Oreck makes great stuff!


PM me if interested.

3.7i, Mac C-48, MAC754's running in Mono, SC-1250 Sub Amp, Blue Sound Music Server, Transparent Audio & DH Labs Cabling.
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post #4781 of 4799 Old 11-17-2016, 02:36 PM
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I could search but (a) I'm lazy, (b) I want recent info, and (c) this thread needed to be brought forward a few pages.

For those of you who have auditioned and/or heard (or owned) both the 3.7 and 20.7, how did they compare? It is pretty hard to audition the 20's anymore, seems like dealers do not stock them. When I last auditioned it was only briefly and was before the x.7 versions.

Curious, thanks - Don

"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley
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post #4782 of 4799 Old 11-17-2016, 09:31 PM
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Quote:
Originally Posted by DonH50 View Post
I could search but (a) I'm lazy, (b) I want recent info, and (c) this thread needed to be brought forward a few pages.

For those of you who have auditioned and/or heard (or owned) both the 3.7 and 20.7, how did they compare? It is pretty hard to audition the 20's anymore, seems like dealers do not stock them. When I last auditioned it was only briefly and was before the x.7 versions.

Curious, thanks - Don
As you know, I own the 3.6. I heard the 3.7 in order to see if they were a major upgrade. While certainly excellent, I didn’t hear any difference between the 3.6 and the 3.7 on the two CDs I brought in (but they just got the 3.7 in and may not have been broken in). This is hardly a proper test, however. Normally, I'd spend a couple hours listening to about 10 different CDs that includes several different genres. I’ve heard the 20.1, but only on a couple pieces of music and I honestly don’t know why someone would spend over twice the dollar amount for those vs the 3.7s. If one is looking for deeper bass, a subwoofer will do a lot more as you well know. Obviously an imperfect audition and it's my opinion only.

Music area: Magnepan 3.6, McIntosh MC2205 amp & C48 preamp, SVS SB13-Ultra, Oppo BDP 95, dbx 3BX, and assorted equipment.
Movie area: EMP Tek E5Bi (were rebadged to R5Bi), RBH/EMP Tek R55Ti, PSA S3000i, Denon X2000, Oppo BDP 83.
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post #4783 of 4799 Old 11-17-2016, 10:27 PM
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If one is looking for deeper bass, a subwoofer will do a lot more as you well know.
If I could jump in here. I've been gone for some time. I too own 3.6's. and McIntosh 2250. I was going to sell the 3.6s after I got some 1.7's for my home theater, but the 3.6s sound too good to get rid of. I put them in the living room next to a grand piano.

I built two of Danny Rich's W-Frame subs for the theater. CC3 in the center. MC3s on the sides and MMWs in the rear. I'm feeding the A370 PEQ3 amps with the Oppo 105 sub out to a Y-splitter and then to both inputs on both subs. Someone said that special effects from movies would bottom out the subs by using the sub out from the 105. I don't hear any problem so far. Is there a better hook-up? Can I use the stereo out from the 105 running each side to separate subs? Could I limit the frequency range using the A370 PEQ3 filters? If I do that, can I use the XLR outs for the 1.7s? I still don't know how to set the filters on the A370 PEQ3. The crossover ranges from 50 to 120. What would be best for the 1.7s?I'm still building a cabinet to house everything.
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post #4784 of 4799 Old 11-17-2016, 10:29 PM
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Originally Posted by dsrussell View Post
As you know, I own the 3.6. I heard the 3.7 in order to see if they were a major upgrade. While certainly excellent, I didn’t hear any difference between the 3.6 and the 3.7 on the two CDs I brought in (but they just got the 3.7 in and may not have been broken in). This is hardly a proper test, however. Normally, I'd spend a couple hours listening to about 10 different CDs that includes several different genres. I’ve heard the 20.1, but only on a couple pieces of music and I honestly don’t know why someone would spend over twice the dollar amount for those vs the 3.7s. If one is looking for deeper bass, a subwoofer will do a lot more as you well know. Obviously an imperfect audition and it's my opinion only.

Very honest post, as usual


I am not into those, may I say ribbon type of speakers (please feel free to correct me on the proper name), more into traditional type of drivers.


That said, when you said "but they just got the 3.7 in and may not have been broken in".
I never believe in to the broken in factor until, I got my Aperion and then could have a been only me getting use to them, so I will never know


I thought this was reserve for traditional drivers (too loosen up within a few hour/s), not for ribbon type ones?


Ray
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post #4785 of 4799 Old 11-18-2016, 01:20 PM
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If I could jump in here. I've been gone for some time. I too own 3.6's. and McIntosh 2250. I was going to sell the 3.6s after I got some 1.7's for my home theater, but the 3.6s sound too good to get rid of. I put them in the living room next to a grand piano.

I built two of Danny Rich's W-Frame subs for the theater. CC3 in the center. MC3s on the sides and MMWs in the rear. I'm feeding the A370 PEQ3 amps with the Oppo 105 sub out to a Y-splitter and then to both inputs on both subs. Someone said that special effects from movies would bottom out the subs by using the sub out from the 105. I don't hear any problem so far. Is there a better hook-up? Can I use the stereo out from the 105 running each side to separate subs? Could I limit the frequency range using the A370 PEQ3 filters? If I do that, can I use the XLR outs for the 1.7s? I still don't know how to set the filters on the A370 PEQ3. The crossover ranges from 50 to 120. What would be best for the 1.7s?I'm still building a cabinet to house everything.
A subwoofer that bottoms out is very easy to tell. You’ll hear a definite clacking sound, which can fry the voice coil. I heard that on a Hsu sub I was testing at my home and stopped immediately and adjusted the settings. It was quite nasty. Since you haven’t heard it, or anything like it, then you are not bottoming out your sub. If you are enjoying the sound, just sit back and relax and enjoy .

Plus, one can bottom out just about any sub if not paying attention to the settings and setup (that happened to the Hsu — my fault not the subs). Although some subs do seem almost bullet proof. And there are movies that can really put the hurt on a lot of excellent subs that go very deep (Edge of Tomorrow’s 10 Hz frequency at the beginning of the film being one).

You must try different crossovers to suit your tastes. I use the lowest crossover possible on the 3.6 because I love the seamless bass produced by the panels. THAT I did NOT want to lose when integrating a sub. So I cross over at 40 Hz. The higher I went, the less I liked the sound (although 50 Hz wasn't bad at all). I'd suggest 50 to 60 Hz on your 1.7's and go from there.

Music area: Magnepan 3.6, McIntosh MC2205 amp & C48 preamp, SVS SB13-Ultra, Oppo BDP 95, dbx 3BX, and assorted equipment.
Movie area: EMP Tek E5Bi (were rebadged to R5Bi), RBH/EMP Tek R55Ti, PSA S3000i, Denon X2000, Oppo BDP 83.
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post #4786 of 4799 Old 11-18-2016, 01:22 PM
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Quote:
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Very honest post, as usual


I am not into those, may I say ribbon type of speakers (please feel free to correct me on the proper name), more into traditional type of drivers.


That said, when you said "but they just got the 3.7 in and may not have been broken in".
I never believe in to the broken in factor until, I got my Aperion and then could have a been only me getting use to them, so I will never know


I thought this was reserve for traditional drivers (too loosen up within a few hour/s), not for ribbon type ones?


Ray
Yes, the 3.x series (and the 20.x series) use true ribbon tweeters. Extremely fragile strips of aluminum that are .0001 inch thick. These are very long strips (about 1/8” wide x 4-1/2 feet long). Their other models use a different material and are called Quasi-ribbon tweeters. Both are excellent (the Quasi-ribbon being less fragile), but there is a sound difference. I’d call it an almost imperceptible veil vs. the true ribbons. I truly didn’t notice it going from the 1.7 to the 3.6, until I heard the 3.6 and went back to the 1.7. Extremely minor difference, but it was there.

Panels are different in break-in time than conventional drivers because the mylar needs time (Magnepan suggest 100 to 200 hours depending upon the panel size) to slightly and slowly stretch out. They sound great out of the box, but the bass end isn’t quite as deep. One may gain 4 or 5 Hz over time, which you just won’t notice, since it is a very gradual process.

It is very true that one’s ears take time to get use to the sound, so first impressions are probably the most accurate. I heard no difference with my movie speakers during break-in (EMP Teks), but I know I got use to their sound signature over the trial period. It took longer to get use to the towers than the bookshelf speakers, but I ended up enjoying both.

And finally, there is no perfect speaker and no perfect ears (especially mine).

Music area: Magnepan 3.6, McIntosh MC2205 amp & C48 preamp, SVS SB13-Ultra, Oppo BDP 95, dbx 3BX, and assorted equipment.
Movie area: EMP Tek E5Bi (were rebadged to R5Bi), RBH/EMP Tek R55Ti, PSA S3000i, Denon X2000, Oppo BDP 83.
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post #4787 of 4799 Old 11-23-2016, 07:25 AM
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Happy Thanksgiving wishes to everyone here on my favorite forum. Best wishes to you all, enjoy your time with your families .... much love to all.
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Magnepan 1.7's (LR), Magnepan CC5/DWM (Center Channel), Magnepan MC1's (Surrounds), Rythmik F12 (Sub), Emotiva XMC-1 (Processor), Emotiva XPA-2 Gen2 Drives the 1.7's, Emotiva XPA-5 Drives the Center and Surrounds, Oppo BDP-103, Sony PS4
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post #4788 of 4799 Old 11-29-2016, 07:16 AM
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one E15 or two F12's

I tried posting this in the Sub Forum but no response and apparently very little interest or knowledge regarding Magnepan's special sub needs.

I built two of Danny Richie's W-Frame OB subs. They are fed stereo inputs and act as bass extensions to a pair of Magnepan 1.7 front speakers of a 7.1 system. The low pass filter is set to 80hz and they provide a wonderful bottom to the 1.7's. I plan to build two kit versions of the Rythmik E15 compact subs. One will be finished white to match the white OB W-Frame speakers (white audio cabinet is still in my shop). The .1 sub output from OPPO 105 will connect to the E15 via a Y connector. I assume the E15 has the same inputs as the 370's I have in the W-Frame subs. This speaker will sit on the far left on the harth (see pic) and replace the cheap Velodyne sub. I ordered a LG OLED65BP6 that will sit on top of the new white cabinet.

The other E15 sub will sit in another room under the piano (see pic) next to a pair of 3.6 speakers. The stereo outputs of OPPO 105 will connect with a low pass filter of 50hz. This sub will be finished high gloss piano black to match the Yamaha piano, which I also refinished. I think one E15 sitting under the piano will look better than two F12's. There is limited space in this room and if I use two F12's I think they would look crowded side by side. The price of three F12 kits is about the same as two E15's.

Also, in the theater room where there is only room for one .1 sub for movies, I think one E15 would be a better choice than one F12. If I buy Rythmik subs in pairs I get a 10% discount. If you buy two F12's and one E15 there is no discount for the single E15, so this total price becomes much higher. If I buy three F12's I could use one for the bottom of each 3.6's. Would two F12's with the 3.6's be a significant improvement over the single E15? Would the third F12 be adequate as a .1 movie sub?

Any concerns or suggestions appreciated.
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post #4789 of 4799 Old 11-29-2016, 09:13 AM
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If the OB's are doing their job do you need another sub? I am not sure the benefit or goal of adding a third sub to that system... I personally am not a big fan of OB's though they are a good match to planar speakers esp. at and above crossover and a few here love them. My personal trials with OB's (and IB's) led me to stick with conventional sealed designs, though I've wondered how a system that transitioned from the planars to OBs to regular subs would do. Just seemed too much work to integrate in the spare time I have amongst everything else going on. Are you thinking of replacing the OB's with F12's?

The main reasons for using more than one sub are to smooth in-room response and provide greater SPL. If they are collocated then the only benefit is additional power output. I can't tell the room size. Given your constraints, i.e. one sub per room, then if you've the space for E15's the larger subs will offer more output for now and future use and save the endless "what if" second thoughts you may have later (or may not; my F12's in a smallish 13.3' W x 17.5' L x 8.5' H room are fine, even when I had "only" two).

If you are planning to replace the OB's and use the third sub in the piano room, then as you said three F12's would be more cost-effective, though the E15 would provide more output.

Both rooms would probably benefit from acoustic treatment.

IME/IMO/FWIWFM/HTH/etc. - Don

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post #4790 of 4799 Old 11-29-2016, 12:08 PM
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Quote:
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If the OB's are doing their job do you need another sub? I am not sure the benefit or goal of adding a third sub to that system... I personally am not a big fan of OB's though they are a good match to planar speakers esp. at and above crossover and a few here love them. My personal trials with OB's (and IB's) led me to stick with conventional sealed designs, though I've wondered how a system that transitioned from the planars to OBs to regular subs would do. Just seemed too much work to integrate in the spare time I have amongst everything else going on. Are you thinking of replacing the OB's with F12's?

The main reasons for using more than one sub are to smooth in-room response and provide greater SPL. If they are collocated then the only benefit is additional power output. I can't tell the room size. Given your constraints, i.e. one sub per room, then if you've the space for E15's the larger subs will offer more output for now and future use and save the endless "what if" second thoughts you may have later (or may not; my F12's in a smallish 13.3' W x 17.5' L x 8.5' H room are fine, even when I had "only" two).

If you are planning to replace the OB's and use the third sub in the piano room, then as you said three F12's would be more cost-effective, though the E15 would provide more output.

Both rooms would probably benefit from acoustic treatment.

IME/IMO/FWIWFM/HTH/etc. - Don
I'm not sure the benfit or goal of adding a third sub


At the Audio Circle GR forum, it was suggested that I use the W-Frame OB speakers as just a bottom extension of the 1.7's. The same person said that the special effects of many movies are only sent to the .1 output of 7.1. He said it would be hard for the OB speakers to do justice to low frequency movie effects. But in a stereo speaker configuration the 1.7's are bloomed out on the bottom, which is what I was hoping for. I think the E15 would do a good job on movie effects. If the guy at AC is right, the low special effects are not being routed to the OB's stereo feed from the Oppo 105.

Both rooms would probably benefit from room treatment

Would it work to add damping material directly to the back of the 1.7 and 3.6 speakers. I could go back against the wall, but I think it would look a lot better attached to the speakers. I guess I could experiment.
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post #4791 of 4799 Old 11-29-2016, 12:28 PM
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If you are using an active crossover as I would assume so the L/R speakers look like a "large" speaker to the AVR/Oppo then LFE info is sent to them. At least that is the way it is supposed to work, and has worked with all the AVRs and pre/pros I have used to date, but I seem to recall there is an issue with Oppo's bass management so I am not sure. I would check with Oppo or look in the Oppo thread. If you are planning to move to an AVR or pre/pro then it will properly handle bass management.

Until fairly recently (last year or so) I ran stereo subs with an active crossover and separate amps so my L/R Maggies were Large to the AVR, obviating some bass management issues, but meaning I was more limited in placement and tuning the system for room compensation was more difficult. I am currently running my subs as a mono swarm, using the phase controls to get everything in synch, and it has worked well for me.

OB's (and IB's, though you can put a housing behind the IB drivers) tend to not reach as deep and distort more than sealed or ported designs, partly because they are (again "usually") much less efficient. There are always exceptions, natch. IME they work well to fill in the lower octave or so where the Maggies are rolling off, but you need a goodly stack with special drivers to handle the really deep bass. I toyed with more conventional OB designs, don't think I ever set up a W-frame version like that. I eventually got tired of messing with them and designed a servo sub similar to Rythmik (but back in the early 1980's). If I had room, money, and patience I'd set up a stack of OB's beside each of my main Magnepans with regular subs filling in below that.

I tried adding damping attached to the rear of my Maggies ages ago but honestly do not recall the result. I think it worked for the high frequencies well enough, which is where you'll hear the most comb filtering. Won't really do much for bass, but it takes a lot of absorption or really big diffusors for bass anyway. Try it and see, and let us know!

HTH - Don

"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley
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Originally Posted by DonH50 View Post
If you are using an active crossover as I would assume so the L/R speakers look like a "large" speaker to the AVR/Oppo then LFE info is sent to them. At least that is the way it is supposed to work, and has worked with all the AVRs and pre/pros I have used to date, but I seem to recall there is an issue with Oppo's bass management so I am not sure. I would check with Oppo or look in the Oppo thread. If you are planning to move to an AVR or pre/pro then it will properly handle bass management.

Until fairly recently (last year or so) I ran stereo subs with an active crossover and separate amps so my L/R Maggies were Large to the AVR, obviating some bass management issues, but meaning I was more limited in placement and tuning the system for room compensation was more difficult. I am currently running my subs as a mono swarm, using the phase controls to get everything in synch, and it has worked well for me.

OB's (and IB's, though you can put a housing behind the IB drivers) tend to not reach as deep and distort more than sealed or ported designs, partly because they are (again "usually") much less efficient. There are always exceptions, natch. IME they work well to fill in the lower octave or so where the Maggies are rolling off, but you need a goodly stack with special drivers to handle the really deep bass. I toyed with more conventional OB designs, don't think I ever set up a W-frame version like that. I eventually got tired of messing with them and designed a servo sub similar to Rythmik (but back in the early 1980's). If I had room, money, and patience I'd set up a stack of OB's beside each of my main Magnepans with regular subs filling in below that.

I tried adding damping attached to the rear of my Maggies ages ago but honestly do not recall the result. I think it worked for the high frequencies well enough, which is where you'll hear the most comb filtering. Won't really do much for bass, but it takes a lot of absorption or really big diffusors for bass anyway. Try it and see, and let us know!

HTH - Don
The Oppo manual says that you can use stereo outs for the FL&FR speakers in a multichannel configuration. But do not use the FL&FR analog outs. This would use both dacs at the same time. Since I am sending stereo to the W-Frame subs with the A370 low pass filter set to 80hz and sending analog FL and FR to my 1.7 amp I am using both dacs in a multichannel configuration. I am guessing that the Oppo manual means not to send both stereo and FL and FR analog to the same FL&FR speakers. What I have is working and the bottom of the 1.7's are great. Do you see any problems with this configuration?

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Sorry, my Oppo is older and broken so I am not sure the answer. I would email Oppo; they have always been pretty responsive. The question is how they handle bass management and if the LFE signal is summed with the L/R outputs when the speakers are "large". IIRC Oppo will not send signal to the stereo L/R outputs and the multichannel outputs at the same time or something like that. I used the analog outputs of my older BDP-83 for CDs to reduce start-up lag and HDMI to my AVR for everything else so I never set up your specific configuration. And still need to send in my '83 for repair (laser died).

I would not drive the Maggies full-range if that is what you are doing but that's more a personal choice (driven by their relatively poor dynamic range and very high distortion when driven with deep bass).

If what you have is working and sounds great no real need to fool with it.

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Tympani 1-Ds .... Heading for the curb...?

I have an old friend in North Hollywood who is preparing to move back East soon. He has an old pair of Tympani 1-Ds that haven't seen much use in a while.

I don't have any space or use for them, but if someone else wants to come and get them in the next couple weeks or so, you are welcome to them. Can't vouch for their condition; he says that, at a minimum, they could probably use some new socks.
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I'd jump on that if (a) I was near and (b) I had the room myself. Actually, only (a) really applies...

Lost count of how many Maggie sox I've replaced over the years.

"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley
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I

The stereo outputs of OPPO 105 will connect with a low pass filter of 50hz.
Any concerns or suggestions appreciated.
I thought I would pass on what I'm learning regarding adding OB subs to the bottom of 1.7's for home theater. I contacted Oppo they said that if you set the FL and FR speakers to small in the configuarator, all three potential outputs for the FL & FR speakers have very little bass below 80hz. These three are include: the stereo outs, the XLR outs as well as the analog FL & FR.

Danny Richie (the designer of the OB subs) suggested making up a small splitter box which would contain a .1uF cap to roll off the full signal 6db below 50hz to the 1.7 amp. This size cap is calculated for my Odyssey Stratos amp. Other amps will vary. The box would also route a full signal out to the two OB woofers where it would be pass through a LPF set to 80hz. The parts are coming.

Since Oppo enables vol adjustment, I thinking about using the XLR outs and putting the caps directly inline to the 1.7 amp. Then I should be able to reduce the vol with software.
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That will provide a first-order high-pass filter; I generally prefer higher order and a bit higher in frequency but it's a matter of taste as well as performance. I used that basic circuit for years with my old MG-I's and tube preamp and amps.

A 50-Hz rolloff with a 0.1 uF capacitor implies an amplifier input impedance of about 30 k ohms assuming the source (Oppo's output) impedance is negligible (near 0 ohms). A different amp will require a different capacitor value. You might want to use a slightly smaller capacitor and roll off a little higher.

f = 1 / (2 * pi * R * C) -- pi = 3.141592654..., R is your amp's input impedance (~30 k), and C is the capacitor you are adding. You can parallel capacitors to increase their value; e.g. 0.05 uF in parallel with a 0.01 uF yields 0.06 uF and would give you a rolloff starting around 88 Hz.

Do note that you must ensure the subs and mains are in phase at the crossover frequency or you'll have a "hole" in the response there because the mains and subs will cancel each other. The lower the crossover order, the wider the frequency band you must correct. The good news is that, unlike more conventional sub designs, the OB should meld smoothly with the panels so you are more likely to get away with it (get good sound) without having to use a room correction program or more complex scheme to compensate. And of course you have Rythmik's continuous phase control to get everything aligned; that little knob is a lifesaver in situations like this.

If need be, you can build or buy a simple inline passive volume control, but hopefully you can use the volume (gain) knob on the sub amps to match levels.

HTH - Don

"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley
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post #4798 of 4799 Old Today, 01:26 PM
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Originally Posted by DonH50 View Post
That will provide a first-order high-pass filter; I generally prefer higher order and a bit higher in frequency but it's a matter of taste as well as performance. I used that basic circuit for years with my old MG-I's and tube preamp and amps.

A 50-Hz rolloff with a 0.1 uF capacitor implies an amplifier input impedance of about 30 k ohms assuming the source (Oppo's output) impedance is negligible (near 0 ohms). A different amp will require a different capacitor value. You might want to use a slightly smaller capacitor and roll off a little higher.

f = 1 / (2 * pi * R * C) -- pi = 3.141592654..., R is your amp's input impedance (~30 k), and C is the capacitor you are adding. You can parallel capacitors to increase their value; e.g. 0.05 uF in parallel with a 0.01 uF yields 0.06 uF and would give you a rolloff starting around 88 Hz.

Do note that you must ensure the subs and mains are in phase at the crossover frequency or you'll have a "hole" in the response there because the mains and subs will cancel each other. The lower the crossover order, the wider the frequency band you must correct. The good news is that, unlike more conventional sub designs, the OB should meld smoothly with the panels so you are more likely to get away with it (get good sound) without having to use a room correction program or more complex scheme to compensate. And of course you have Rythmik's continuous phase control to get everything aligned; that little knob is a lifesaver in situations like this.

If need be, you can build or buy a simple inline passive volume control, but hopefully you can use the volume (gain) knob on the sub amps to match levels.

HTH - Don
The Odyssey Stratos is 22K ohms. I looked back at Danny's cals and the 1.7 signal rolls off at 72hz. You're good at your math.
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Thanks, it's what I do.

72 Hz sounds more reasonable to me and the math checks (72.34 Hz). That is down about 6 dB at 36 Hz, not a very steep roll-off.

"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley
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